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Sex Scene Analysis

1002 Words5 Pages

Watching sex on screen is fascinating for me on many levels. At the most primal one is me also feeling sexually aroused as I allow myself to get immersed in the scene and identify with the characters doing the deed. Then I start thinking: what do these actors actually feel or think about while they are fucking? How difficult is it to act out this 'love' scene? Then beyond that, if I am watching the film with other people, I examine their reactions and compare it with mine, to "watch ourselves watch" [255] as Linda Williams (2008) would have put it. I argue from experience that the affective value of sex/love scenes conserves relatively well. Compared to action or horror scenes whose novelty and 'special effects' may wear off in the next viewing, …show more content…

Three contemporary examples come to mind: Catherine Breillat's Anatomy of Hell (Anatomie de l’enfer, 2004), Michael Winterbottom's 9 Songs (2004), and John Cameron Mitchell's Shortbus (2006). These films can all be seen to hybridize Last Tango in Paris' "jabbing, thrusting, eroticism" [247] with Deep Throat's elements of "feature-length, hard-core, sound and color pornography" [252], as well as also being emotionally challenging dramas. I want to inquire: How does the salience of unsimulated sex alter these films' dramatic affect? And how do these films further blur or 'queer' the boundaries between erotica and …show more content…

From the bells and rockets in Deep Throat symbolizing sex, now in these films we actually have sex stand for something. In Anatomy of Hell, it serves as the means to the shattering of the gay male's ego via the intense display of female sexuality. In 9 Songs, it is a manifestation of a man's longing and possible melancholia. In Shortbus' post-9/11 backdrop of anxiety among NYC's inhabitants, going into Shortbus and having uninhibited sex serves to soothe the characters' existential angst, as something to make them feel more sure of being

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Laura Mulvey’s article Visual Pleasure and Narrative Cinema was published in 1975, has set out the concept of visual pleasure and explains it under a system looks in cinema. Her theory points out that men looked at women, men are the subjects of women, and to look at the object position; (women) accept their role of being looked at and creating visual pleasures for men as well as in the social reality. Her approaching is to use the same “political weapon” (“psychoanalytic theory”) that “the unconscious of patriarchal society has structured film form” (the way men used to oppress women) (Mulvey 483), with the hope to leave “the past behind without rejecting it” (Mulvey 485). To analyze that the main bias of cinema lies in the obsessive psychological

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